Le Gallienne was known for his sentimental form. While some found this unappealing ("The Yellow Book"), others saw it as a fresh and original take on personal topics (Brawley 60). In Sleeping Beauty, the narrator used the narration as a form of rumination.This, he said, enhanced his abilities to think and therefore write. The narrator discussed the true meaning of beauty in a personal manner. This had the effect of convincing the reader to reconsider preconceived notions of beauty. The ideals that are supposed to be maintained by society were flawed in reason and were in the process of expanding. 

In this expansion, art was recognized as dynamic. The muses of such art had to therefore change frequently for art to be successful. Within this change of muses, conventional beauty was said to be key. Le Gallienne denied the notion that people in pictures and paintings were only striking or fascinating but not beautiful ("Le Gallienne's Prose Fancies"). In Sleeping Beauty, the narrator's editor friend spoke as a representative of society. It was normal of society to sympathize with and enjoy the conventionally attractive muses but then undervalue those muses that were widely-acclaimed to be plain. This type of society, with a beauty-blind (Le Gallienne 301) definition of beauty, still found art to be very significant. Le Gallienne said that many of the heroines in revered art and literature were rarely beautiful by societal definition. They were instead slowly accepted as beautiful as time passed and humanity adapted different ideas of beauty.

Viewership found it easier to accept beauty in art about nature than in art about the feminine condition and all the diversities it entails. This was in spite of nature's similarities to femininity. Nature is a complex and progressive phenomenon. Everything from the hills to the plains is celebrated for it's beauty. In order for society to have gained this widespread acceptance of the beauty in the complexity of nature, artists had to show their perspectives, or genius (Le Gallienne 316), to the public. They had to open the eyes of the beauty-blind. Society, then, had the ability to accept femininity as a complex mixture of both unique outer beauty and the beauty of character. This process was slow but constant.

People assumed that being able to identify what is beautiful is a part of the human condition. It seemed to be one commonality among humans. Women were seen as beautiful if they met certain specifications. These specifications included dimensions of the eyebrows, nose, facial structure, mouth, and eyes. Le Gallienne noted, however, that beauty was rooted in change. Each person had an innate beauty that can only be fully appreciated by specific people. Beauty, Le Gallienne expressed, was a unanimous characteristic of women that was awakened when a genius or great love was able to see it. Characteristics that were not considered beautiful, like unpopular complexions or red hair or even aging, have been discovered to be beautiful. Eventually, appreciation for beauty should grow to encompass everything (Le Gallienne 311).